Sentences with phrase «which pictorial art»

«It was the stressing... of the ineluctable flatness of the support that remained most fundamental in the processes by which pictorial art criticized and defined itself under Modernism.

Not exact matches

As Walter L. Nathan has observed, the art rejected by these three church fathers was not the «entirely new pictorial language» of a mature Christian art but the Christian art of their time, which had «borrowed freely» from the late classical pagan tradition.

What Frank Stella ultimately managed to achieve, what makes him so invaluable to all of art, is the fact he was able to make paintings in which pictorial force came not from symbolic meanings but from the very materiality of the piece.

Her own work challenges these boundaries, as seen in her solo show Revenge, featuring consecutive paintings of black women protagonists and memorials to the horrors of the transatlantic slave trade, at Rochdale Art Gallery and the South Bank Centre, London, in 1992, which contested the pictorial narratives so frequently repeated in art histoArt Gallery and the South Bank Centre, London, in 1992, which contested the pictorial narratives so frequently repeated in art histoart history.

Following the developments of Cubist and Futurist painting — in which the natural world was translated into a stark pictorial language of shapes, lines, and angles — Russia was one of the primary breeding grounds of pure abstraction, with Wassily Kandinsky doing much to popularize geometric art before gravitating to the gestural camp in later years.

Since then, Tuttle has presented prominent and influential series in the history of contemporary art such as the cloth pieces, which he installed dyed and cut canvas on the wall, and were both pictorial and three - dimensional, and the wire pieces, which consisted of wire and its shadow and pencil lines, and small - scale collage pieces among others.

«Childhood, sexuality, memory, loss, religion and discrimination are themes that have always preoccupied Gober and for which he has developed his own unique pictorial language, influenced by Surrealism and by Minimal and Conceptual Art, though all read very much against the grain.»

For noted art historian and author James A. Porter, Charles White was one of the great interpreters of the history and culture of black Americans: «Charles is an artist steeped in life; and his informed artistic vision conduces to an understanding of vivid pictorial symbols which, through large as life itself, are altogether free or false or distorted ideas or shallow and dubious emotion.»

And we must not forget that Surrealism itself was based in two divergent concepts, one in which works of art were first elaborated in the mind and then translated into pictorial matter.

Painting is the be-all and end - all of Mr. Hockney's art, the point of departure of his forays into other pictorial realms and the port to which he inevitably returns, discoveries in hand.

On the one side, we have the centuries - long continuity of work that is primarily pictorial in nature, and on the other, the growing body of work that is more presentational in attitude — that is, art that privileges intentionality and the delivery system, the context in which art appears.

In an extract taken from the Richard Hamilton exhibition catalogue, art critic Hal Foster uses the essay to explore the connection between the artist's photography as a snapshot, which finds «its place between the genres» of academic art and pictorial tradition (in Spanish).

Echoing the pictorial style of Impressionism through rough strokes and composition, Yiadom - Boakye's canvases exclusively portray black faces, which seems to address the shortcomings of European art history in representing black subjects.

In his exploration of the abstract image he focuses on images and forms found in daily life objects, in this case packaging materials or shopping bags, which can offer a universe of a pictorial language inherent to Modern Art.

The pictorial worlds on canvas or paper are strongly influenced by Pop Art, though she in fact developed her own subjects and visual vocabulary, which she then pursued for a further 30 years and realized using different media.

Friends and lovers show up repeatedly in pictorial references and in communal art projects, many of which are nicely documented in the exhibition with supplemental video and photographs.

The collection attests to the persistent vigour of Baselitz» distinctive pictorial style and is a fascinating exploration of the juncture between personal and collective narratives, via motifs which recur throughout gesturing towards the stores of art history and Baselitz own oeuvre.

A self - taught artist, Khakhar developed a sophisticated pictorial language and vibrant palette which «was infused with his deep knowledge of art from South Asian and European sources.»

In 1949 Mark Rothko developed a pictorial format of a softly defined, rectangular clouds of colour, which he stacked symmetrically on top of one another (see, for instance, No 22, 1949, Museum of Modern Art, NY).

[1] Here Steinberg conveys the almost dizzying effect of looking at Matisse's all - over fields of pulsating color, which art historian Hal Foster Yve Alain Bois would later identify (in a 1994 essay fittingly titled «On Matisse: The Blinding: For Leo Steinberg») as the radical core of Matisse's pictorial program beginning around 1906.

Borrowing its title from a film of the same name by Artavazd Peleshyan, the exhibition plunged visitors into a pictorial and sound environment, in which Guillermo Kuitca built an intricate network between his own art and that of fellow artists Tarsila do Amaral, Francis Bacon, Vija Celmins, David Lynch, Artavazd Peleshyan, and Patti Smith.

Carvalhosa appeared in the national art scene in the 1980s, as a member of the collective Grupo Casa 7, alongside Rodrigo Andrade, Fabio Miguez, Nuno Ramos and Paulo Monteiro, a period in which he produced large paintings with an emphasis on the pictorial gesture.

Yves Klein's 1958 emblematic exhibition «The Specialization of Sensibility in Raw Material State into Stabilized Pictorial Sensibility», which was subsequently referred to as The Void, is widely considered as a turning point in modern art history.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

Recognized widely throughout Brazil, he emerged in the Brazilian art scene in the 1980s as a member of the São Paulo based collective Grupo Casa 7, alongside Rodrigo Andrade, Fabio Miguez, Nuno Ramos and Paulo Monteiro, period in which he produced large paintings with emphasis on the pictorial gesture.

In France, Yves Klein's choreographed installation and his sale of Zones of Immaterial Pictorial Sensitivity provided more examples of ethereal and time - based art, as did Georges Mathieu's theatrical demonstrations of painting, which he took to Japan.

On the Sprays, Greenberg wrote, «What makes Olitski's paint surface a factor in the creation of major art — is the way in which one of the profoundest pictorial imaginations of this time speaks through it.»

If the pictorial lyricism of abstract expressionism continues to dominate the Los Angeles art scene, numerous artists have also decided to tread the path of a form of minimalism in which light is an inseparable part of their practice.

Her pictorial images, which are a compendium of layers of color involving time, intuition, and pressure from hand to surface, appear to have their own point of view rather than conforming to the current look of abstraction, which, given the plethora of art media today, already has begun to appear repetitive.

His paper, «Pictorial Slippage», which considers temporality and painting, will be published in the forthcoming issue of the International Journal of Arts Theory and History.